What started with a late-night conversation at Piaseczno’s Open Air HC Fest in 2006 turned into nearly two decades of consistent underground hustle. Spook Records, founded by a Kraków-based metalhead turned scene fixture, has carved out its own lane—releasing hardcore and beatdown records from Poland and beyond, almost exclusively on CD.
The label’s roots go back to internet message boards, local shows, and early obsessions with bands like Biohazard, Terror, and Schizma. After booking gigs with Shing Records’ Tomasz Góral and building local trust, the first release landed in early 2007: Knock It Off by Good Old Days. “There was no way I could say no,” he recalls. “I loved the band’s vibe—it felt like Sick of It All.”
Spook quickly became known for both new releases and high-quality reissues—Death Before Dishonor’s True Till Death, Most Precious Blood’s Do Not Resuscitate, and Wisdom In Chains’ Anthems among them. Still, the founder’s loyalty lies with the CD. “I hate tapes. CDs just make sense—clean sound, solid booklet, easy to handle.”
Now approaching its 20th year, the label runs leaner than before, focused on long-standing connections and bands that still carry that raw energy. “I don’t have time to hunt like I used to, but if something knocks me out, I’ll reach out.”
Hit the full interview with Dawid below to hear about international collaborations, CD culture, label myths, and what keeps a one-person operation alive from Poland to Japan.
Let’s kick it off from the start—who were you in the early 2000s before the label happened? What were your days filled with, and what pulled you into hardcore beyond just being a fan?
In the early 2000s, I was just your typical Polish metalhead, had just started university. But even back then, I was already into bands like BIOHAZARD, SICK OF IT ALL, MADBALL, or AGNOSTIC FRONT. The real turning point came when I finally got access to the internet at my housing estate. Suddenly, within seconds, I could check out bands from all over the world—not just the stuff you’d see on MTV, but deep underground acts too. That’s when I quickly found bands like TERROR, HATEBREED, FIRST BLOOD, DEATH BEFORE DISHONOR, and a bunch of other U.S. names.
I also got into some of the big Polish names like SCHIZMA, 1125, or up-and-comers at the time like EYE FOR AN EYE.
Was there a specific moment, maybe even a show or a conversation, when you realized “Fuck it, I’m starting a label”?
It was more of a process, really. At the beginning, I was just supporting local bands in Kraków—taking photos at shows, promoting them on music forums and little online corners. I put on my first gig at the end of 2004, though it wasn’t hardcore yet ;) My first real hardcore shows, the ones I really got into, were SICK OF IT ALL in Warsaw in spring 2004, then later that year I hit the PERSISTENCE TOUR 2004 with SICK OF IT ALL, 7SECONDS, and WALLS OF JERICHO, and the next month I saw MADBALL in Kraków.
But the moment that really hit me was when I went to my first hardcore gig organized by SHOW NO MERCY in Warsaw—I was blown away. That’s when I knew I wanted to do something like that. So not long after, I connected with Tomasz from SHING RECORDS and between 2006–2008 we organized some solid shows together in Kraków. A few of those gigs people still talk about today.
The specific moment though—the one that really flipped the switch—was a conversation with a close friend during Open Air HC Fest in Piaseczno in 2006. Right after that day, I decided I was starting my own label.
A few days later, I registered www.spookrecords.com. I even remember trying to sign SEVEN DAY LIE about a month after, but they had already sealed a deal with IN OUR HANDS RECORDS. So I figured I’d just wait for the right chance to debut.
How did you go from booking shows with Tomasz Góral to putting out your first release? What did those early weeks or months look like—were you just figuring shit out on the fly?
During putting on shows, I started building a lot of contacts with different people and bands. One of them—HARDWORK from the Silesia scene—mentioned they were planning to record a new album, but no one was interested in releasing it, so I just offered to help ;)
But the first band that was actually ready to release something was GOOD OLD DAYS, who had just come back like a phoenix.
At the end of 2006, they had a new album finished. SHING wasn’t interested, so the band came to me and asked if I’d be up for it. I checked out the audio master and thought—why not!! Especially since GOOD OLD DAYS had a similar vibe to SICK OF IT ALL, and I’m a huge fan of theirs, so there was no way I could say “no.”
Everything kicked off at the end of 2006, but the release date for Knock It Off was set for January 2007. I was a bit stressed—had to handle stuff like pressing plant coordination, etc.—but once the CD was out, the feedback wasn’t bad at all.
Do you remember the very first CDs hitting your hands? That GOOD OLD DAYS release—what did that moment mean to you personally?
It was a great feeling—after months of checking the artwork, to finally hold the physical copy of something you worked on. And also seeing the band’s happy faces. That feeling hasn’t changed over the years. With every new release, I get that same cool vibe and satisfaction. Maybe that’s why I’m still doing it.
What was harder at the time—earning trust from the bands or figuring out how to actually press and distribute stuff?
Maybe earning trust from bands wasn’t that hard, since I was already known by some people on the scene, and that’s probably why so many bands were quick to work with me. After GOOD OLD DAYS, other bands like PRESHRUNK, STREET TERROR, SORA! or BHIMAL also wanted to release stuff—and we got it done pretty quickly.
What was harder was probably figuring out how to get a proper print and press done, especially at the beginning when I was a bit confused (like CDR vs pressed audio CD). But after a few productions, I learned what’s what and how to do things right, and from then on I knew how to deliver solid quality ;)
And yeah, distribution felt like black magic at first, but I got support pretty quickly and learned how things work in the scene. I remember the first labels that wanted to trade with me were NNNW, IN OUR HANDS, PASAŻER, REFUSE RECORDS, ZIMA RECORDS, and TRUJĄCA FALA.
Any advice for someone today wanting to start a DIY label from scratch—what’s still the same, and what’s a completely different beast now?
Today, it’s much easier to make a CD/LP/MC, but it’s way harder to sell it—there are tons of bands, music, and merch everywhere, and the new generation is more into streaming than buying physical formats.
I don’t have any golden tips, but maybe one small piece of advice—just do what you like, how you like, and stay true to yourself in the process.
You’ve always stuck with CDs. Was that a conscious decision, like, CD or nothing? Ever been tempted to dive into tapes or vinyl more seriously?
YES, I’m a big fan of the Compact Disc format. I hate tapes—I still remember how annoying they were to listen to, and how the quality dropped after just a few plays. So when CDs came out, it was the perfect format for me—not as small as tapes, not as big as vinyl. Easy to handle and transport, enough space for a nice booklet and some dope extra effects. Plus the digital sound gives you solid quality, unlike tapes, which is a big plus.
A few times bands asked me to do tapes, but I always said no. I honestly don’t know what kind of band it would take to convince me ;)
With vinyls—maybe I’d be open to doing a few titles (especially since I’ve done some in the past), but the current pressing and printing costs are just too high. Maybe someday, who knows. But for now—CD still rulez.
When you think about CD as a medium today—what still excites you about it?
CD is just a great format, like I said. Listening from a physical copy is always better than hearing some virtual version like mp3s or streaming. You can actually hold it, smell the booklet, experience and feel the spirit of the music in your hands. I still love buying new CDs—it’s always a great feeling to open one for the first time, check out all the details, and hear how it really sounds on your home stereo.
You reissued the debut album “True Till Death” from our recent guests, DEATH BEFORE DISHONOR—how did that come together? And beyond business, what’s your personal connection to that record?
I started listening to DBD around the time their second album came out, and pretty quickly I went back to their debut—True Till Death brings back some really good memories. I met Bryan in person in 2008 when I booked their show with IGNITE in Kraków. Since then, we’ve stayed in touch on and off.
I think it was around 2012 when I offered to do a reissue for their upcoming 10th anniversary, but in the meantime they went on a bit of a break. Still, life worked out in the end, and I got my chance—even if it was a decade later, haha. I did the European edition in a jewel case with some bonus rare photos ;)
I’m really proud of having this release in my catalog and super thankful to Bryan and Richie (FAST BREAK) for the trust and cooperation.
These reissues—are they just nostalgia for you, or do they hit different now that you’ve lived through what those bands were singing about?
Yeah, reissues are definitely a kind of nostalgia for me—albums I didn’t get a chance to grab back in the day, and a way to release stuff from bands that mean a lot to me personally. I always try to add something extra to the reissues—bonus tracks, rare photos, anything special to make it even better than the original version.
Got any stories behind other reissues or special editions—ones that hit close to home or maybe took more hustle than expected?
Hmm, nothing too crazy… but maybe MOST PRECIOUS BLOOD’s Do Not Resuscitate stands out.
I sent a request to TRUSTKILL/BULLET TOOTH without expecting any response—but wow, a week later I got a message and the feedback was, “OK, let’s cooperate.”
WISDOM IN CHAINS’ Anthems also came together kind of spontaneously—I was just talking with Richie Krutch and Mad Joe during an interview to my zine No Control, and one thing led to another, and we decided to do that special edition.
Spook Records has always stayed busy, but lately it feels like there’s this steady rhythm again—what’s been firing you up to keep going in 2024 and 2025?
Motivation… I think it’s just true love for hardcore, haha. I’m a bit older now and don’t have as much time as before (family, work, etc.), but I still love doing this and honestly can’t imagine spending my free time any other way. Being active in the scene still makes me feel like a teenager.
The ONESTA reunion and reissue—did that come from you nudging them or was it them reaching out? What was the energy like bringing that one back?
I’ve always had a good connection with Bogdan, the vocalist of ONESTA and HONESTY. While we were working on the special second press of HONESTY’s War As DNA, we started talking about ONESTA’s debut Back To Reality, which had been sold out for ages.
In 2025, ONESTA finally decided to do a small reunion with the original lineup for their 20th anniversary. Doing a reissue of that album for such a perfect occasion made total sense, so Bogdan came back to me and asked for help.
You’ve put out so many records across scenes and borders—what’s the biggest difference when you work with Polish bands vs international ones?
Hmm… I don’t know why, but in recent years I’ve noticed I get more respect and gratitude for cooperation and support from legendary international bands like SKARHEAD, WISDOM IN CHAINS, VIETNOM, DBD, SPIDER CREW, OAC, etc., than from some Polish bands. I’m not sure if it’s because Polish bands have more aspirations and demands—or maybe just bigger egos?
That said, in terms of sound, I think Polish bands and the local scene are at the same level as U.S. or other international bands—sometimes even better ;)
How do you usually discover bands nowadays—are you still actively hunting, or do they mostly find their way to you?
These days I don’t really hunt anymore, haha. I don’t have the same time or budget to handle as much as I used to. I focus more on classic bands I admire or old contacts from back in the day. Sometimes bands reach out to me, and sometimes I randomly come across a band that makes me go “Wow”—and then I’ll usually try to get in touch through some channel or just send a message.
What does a band have to do or be to make you say: “Yeah, we’re putting this out”? Is it the sound, the attitude, the story?
All of it—because the hardcore scene is a very specific place and community. Sound is the first thing that catches my attention, haha ;)
Second is the attitude—if there’s some kind of connection, or the band shares that hardcore spirit, then we can talk.
The story? Well, sure—if a band’s been around longer than a year and already has some discography, they’re way more welcome than a band that’s played one show and recorded just two demo tracks.
How do you personally balance between putting out young blood vs keeping ties with longtime acts? Is that a choice or does it just happen naturally?
In the past, it happened naturally. But now, since I don’t have as much time as I used to, I decided to focus more on bands I know, people I know, or bands that are already established—just to avoid wasting time.
BUT—never say never. If I come across some young blood that knocks my shoes off, I’m always open.
When you look back, which band do you feel like Spook Records grew up with?
Maybe the Hungarian band THE LAST CHARGE. I released their debut in 2007—it was my first release from a band outside of Poland, and at that time, it really opened the door for me to start doing international collaborations.
For THE LAST CHARGE, it was also a big step forward—the album Charge for Life gave them a serious push (first press sold out quickly, and the second press is almost gone). Their fast success caught the attention of the German label BDHW, so their next album and other releases came out under that brand.
Now, years later, they’re kind of an icon in the European beatdown scene, and a lot of the new generation has been inspired by them—which feels really good.
You’ve always kept a foot in the hardcore/beatdown world. Ever get tired of the scene politics or the musical trends that come and go?
YES, I really like the beatdown style. I dig the tempo and the vibe—it sometimes even feels like it’s taken from rap/hip-hop. Over the years, this style isn’t as popular as it was in the late 2000s, but there are still bands keeping it alive—like NASTY, CDC, SHATTERED REALM.
I never liked scream/emocore or mathcore, so I don’t miss that stuff now, haha. I also never liked or understood crust and similar genres.
What’s something about running a DIY hardcore label that people totally get wrong?
Maybe the idea that running a label means you’re making big money? Some people just don’t get that others do it even without profits—just because they love it.
What’s the weirdest or most unexpected place you’ve shipped a CD to?
Hmm… maybe South Korea and Indonesia?
What’s the craziest moment at a show or tour involving a Spook Records band—something that still makes you laugh or shake your head?
I was on a small tour with TESTER GIER in 2013, and I remember right before the show in Bielsk-Podlaski, someone was drifting a tractor around the local estate outside the club.
You’ve built something that people know in Japan, the US, and across Europe. Did that kind of reach ever feel possible back in 2006?
I could never have dreamed in 2006 that such a small, one-person label would someday be known not just across the country, but also in other countries—or even continents. I’ll never forget the day my Japanese distributor sent me a message from a local crew in Tokyo, asking what new stuff was coming from Spook Records because they were waiting. That kind of feedback is just amazing.
Also, it was a great feeling when I went to shows in Germany, Austria, or the Czech Republic–Slovakia, and people actually recognized the brand. Just crazy, haha ;)
The name Spook Records—where’d it come from? What does it mean to you now?
It’s pretty simple—it came from my old nickname “Spooky Kid,” which I used back in the day on music chats, forums, etc. At first, I wanted to call it Spooky Records, but I found out there was already an indie rock label from Australia with that name. So I changed it to Spook Records.
By the way, a few years later I noticed there was also a Spook Records in the UK, doing nu-jazz and electronic music, haha.
If you could go back to 2006 and tell that version of yourself one thing about the journey ahead, what would it be?
Maybe: don’t get stuck in the past like a dinosaur—try to keep up with the new trends and music technologies ;)
What was the last release that genuinely gave you chills?
Most of my releases give me chills, but in recent years I was especially happy to get the chance to do stuff like SKARHEAD’s Generators of Violence, and finally put out ONLY ATTITUDE COUNTS’ 100% as a deluxe edition.
Also, VIETNOM—with both of their EPs Strictly The Real & Thru My Eyes on one CD, and COLDSIDE’s Call For Justice. And of course, DEATH BEFORE DISHONOR’s True Till Death—that one was especially meaningful, since it was my first re-release of a classic U.S. band.
The idea had been in my head for almost 15 years, and I finally made it happen!!
Let’s talk about the now—who are some new bands you stumbled upon in 2023 that completely floored you?
In the past few years, I’ve discovered some real new blood like SPEED, END IT, finally understood SLOPE and TURNSTILE, and found out about COMBUST, PAIN OF TRUTH, SUNAMI, and WHISPERS.
With so many bands and releases under your belt, what keeps you inspired not just to continue but to push for more?
I still love the whole process—from preparing a release to holding the final result in my hands. And the chance to work with both fresh new bands and old-school legends—that’s what keeps me going, even when I sometimes feel a little tired, haha.
If Spook Records disappeared tomorrow, what do you think its biggest impact or legacy would be?
That’s a good question—but I think you’d have to ask people about it. From my perspective, definitely the promotion of the Polish hardcore scene outside of Poland.
For example, in Japan, people really know our Polish bands. Same in other European countries, where I often pushed my releases and later got great feedback about the Polish scene.
And just for fun—what’s the last record you listened to that had nothing to do with hardcore but still hit hard as hell?
SUPERJOINT RITUAL’s Use Once & Destroy—last time I listened to it was probably 2003? But I finally got a chance to buy it on CD now.
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